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£106.95
Invocation and Dance - Carl Strommen
Starting from a lovely and haunting melody introduced by the clarinets, Carl Strommen's Invocation and Dance, in two contrasting sections, is an object lesson in how to write memorably for young musicians using simple, straightforward and appealing material. The fast second section begins with some wonderful quiet percussion writing and the phrase and meter shifting versions of the original tune cleverly vary it before leading to the fully-scored return of the melody in its original form. This selection is contest and festival material of the highest quality. Duration: 4'40"
Estimated dispatch 7-14 working days
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£69.99
An Irish Lullaby - Stephen Bulla
What can be more charming than a comely Irish folk melody? This is music that allows the band to play in the rubato style, with much room for expression. Found in an old British publication and simply called "Irish Air," this endearing arrangement is a rhapsodic treatment that takes fragments of the melody and develops them into a large symphonic work. The freedom of tempi allows you to work with your band in a sensitively conducted way that only a beautiful piece like this will allow.There is always room on a concert program for at least one lush, melodic contrast piece. Perhaps this one is for you. It's so difficult to describe a thing of real beauty. Please listen tothe demo recording and hear it for yourself.
Estimated dispatch 7-14 working days
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£154.99Symphonic Variations - Jacob de Haan
This composition is based on a passacaglia theme, in which artistic perfection, symphonic drama and oriental melody lines play a role. The passacaglia is originally a dance made up of a series of variations above a bass line constantly present as an ostinato. It is not in this sense that the "Symphonic Variations" are in the passacaglia form but in the sense of the open form of the variations. Jacob de Haan, himself originally an organist, took his inspiration for this piece from the famous passacaglia for organ in C-minor by J.S. Bach. Following the introduction of the passacaglia theme (in the bass) the entry by the trumpets and trombones forms the majestic start to amusical adventure, in which this theme (often fragmentary) returns in variations. Then there follow two faster movements with dramatic contrasts and virtuose passages. Particularly striking here is the use of two characteristic intervals from the beginning of the theme namely the minor second and the augmented fourth. An apause in the composition comes in the slow bridge where a syncopated bourdon (perfect fifth) is constantly repeated. The tension grows in dynamics and harmony, and the oriental-flavour becomes obvious in the melody. We arrive at a faster movement via an accelerando, in which a perpetuum mobile based on the passacaglia theme is central. Finally the whole flows into a martial theme, in which the ostinato accompaniment n the descant derives from the passacaglia theme.
Estimated dispatch 7-14 working days
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£84.99
Bundeslied - Jacob de Haan
The melody of Bundeslied originates from Mozart's' Frimaurerkantate (KV62) from 1791. However research has shown evidence that it was probably composed by Johann Holzer, a freemason brother of his, but there is no definite evidence for this. Following the Second World War this melody was used as the basis for the new Austrian national anthem. Micheal Bilkes has adapted this beautiful, stately hymn for concert band. The result is a captivating work for both performers and audience.
Estimated dispatch 7-14 working days
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£94.99O Christmas Tree
The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights, so it was believed, evil spirits tried to 'kill' nature. Needle-leaved trees were the only ones which kept their green colour throughout the year, and therefore became symbols of immortality. These 'living' trees, said to be the work of benign spirits, were brought into people's houses to ward off evil, life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom, originated by the inhabitants of Alsace. This custom was taken over by the Church inthe course of the 15th and 16th century. At first the decoration consisted mainly of edibles, such as apples and wafers, but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ's apparition could be recognized. The German organ-player Ernst Anschtz from Leipzig was the first person to notate the song 'O Tannenbaum', the melody being a well-known folk song. Next to 'Stille Nacht' 'O Tannenbaum' is the most famous German Christmas song, now known throughout the world. In the United States of America the melody of 'O Tannenbaum' has even been used in four States (among which the State of Maryland) for their State song. In David Well's arrangement the song is first heard as many of us know it. After this introduction, however, it is transformed into a solid rock version, and the beat has been changed. In the second part the familiar three-four time is back, but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.
Estimated dispatch 7-14 working days
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£64.99Variants on an Irish folk tune - Timothy Johnson
The Irish folk tune Slane (the melody used in the hymn Be Thou My Vision) forms the foundation for this melodically expansive and inspired work for concert band. A flowing exploration of the melody in variation inspires thelistener with its bold and thrilling progression. The piece remains within reach of a solid grade 3 band but gives the impression of a higher level of composition. A rich variety of style and orchestration make this a goodchoice for festival use as well as concert performance, as well as a great opportunity to study the rich cultural heritage of Ireland. You'll be glad you programmed Variants on an Irish Folk Tune by Timothy Johnson.
Estimated dispatch 7-14 working days
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£228.70Reflections - Suite on a Norwegian Folk Tune - John Brakstad
The suite is constructed around a Norwegian folk tune. The melody is called "Dark Forebodings", and the words of the song revolve around thoughts and reflections on a future that can take unexpected, insecure, or perhaps dramatic and tragic turns.This is essentially a sad song with a beautiful melody. The folk tune itself is presented in the 2nd movement. In the 1st movement, the folk tune is joined with fleeting themes that indicate the unexpected; as if the music sometimesis confused as to which way to go. There are constant changes in atmosphere and feeling, from the harsh and dissonant, to the harmonious and melodic. The 3rd movement presents a more lively variant of thefolk tune, showing optimism andhappiness, even though the "halting" character of the rhythm underscores the unpredictable. The title "Reflections", therefore, refers to thoughts we can have about life. To the Conductor:The 2nd movement has an alternativeending which is may be used if the movement is played as an independent lyrical piece in a concert.It is advisable to begin first rehersal with the 2nd movement so that the main theme is known, before beginning on the 1st movement with itsmore semi-tonal parts. Intervals and intonation can provide much of the challenge in this movement.The 3rd movement can be more technically challenging, but there is considerable leeway in the tempo marking! It is important to maintain theenergy and intensity of the music through the whole movement.
Estimated dispatch 7-14 working days
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£218.30Norsk Kunstnerkarneval Op.14 - Johan S. Svendsen
This well-known work was composed in Christiania in 1874 for a burlesque Carnival in "Kunstnerforeningen".An early title for the work was "Bryllup paa Dovre". The manuscript score and parts at The National Library in Oslo of the early version with this title have much more music than the version printed by C.F. Peters, Leipzig in 1881. The form in this first version was ABA with an additional trio part that later were discarded. In the trio Svendsen used the melody Sterreisen (Os har gjort kva gjeras skulle) from Lindeman's collection of Norwegian Folk Tunes. (Vol. I/115). In the A-part a wedding tune (Bruraslaatten) from Sogn is used (Lindeman Vol. I/476). The Carnival's literary theme was the connection between the cold north and the warm south. Musically the south is represented in Svendsen's music by Raffaele Sacoo's melody from 1835 "Te voglio bene assai".I believe that if Norwegian quality music from this period is going to be performed, it must at least be available. There must be editions for modern instrumentations with full scores. I do this as my contribution to expand and enrich the repertoire for Concert Bands.- Stig Nordhagen -
Estimated dispatch 7-14 working days
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£154.60Den store dagen - Benny Borg
This beautiful song contains a huge contrast between the hopeful and the disappointing. A mother has her birthday and is waiting her children to celebrate it. Each verse starts optimistically, but the short chorus is characterized by the disappointment, that everyone calls, and cannot come. This has been tried recreated musically, mostly in the last two choruses, as it dawns on her that she will not receive a visit. It's a beautiful tune, but with a serious message that it's easy to take someone for granted.One of the elements the musicians came up with after rehearsal, was that they really liked the change between the ballad parts with even eights and the swing parts. This also gives the piece a sense of "parlando" character, which tells a story, and is therefore important to focus. It is not quite simple, as the melody also in those parts with even eights has some triplet rhythms. Therefore, this is a topic you can work on.Regarding instrumentation, Flugelhorn, Alto Saxophone and Euphonium have important roles, in addition to the rest of the first parts in the Band. The arrangement is written so you are not depending on "special" instruments. Important details are also often duplicated so you can use the arrangement for a smaller Wind Band.It is also possible to use a vocal soloist, but then you must soften the instruments that holds the melody.
Estimated dispatch 7-14 working days
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£174.10Big Blue Eyes - Per-Olof Ukkonen
"Big Blue Eyes" is jolly Latin pop piece for soloist and Concert Band. Originally written for Flugelhorn and band but it can be played on any instrument.Solo parts are written in many keys.The soloist may start playing (ad lib.) before falling into the melody and then the rest of the band will follow.Perhaps you can introduce a guest star to play while walking in to the stage (from the audience?). You may also just start from the melody.Solo Options: C Instruments (both TC and BC), Bb Instruments, Eb-Instruments and F-instruments.
Estimated dispatch 7-14 working days
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